They both work and they both have their own challenges. If you’re showing a large horizontal view and you want the widescreen to show the territory, then that’s a good choice. If it’s a little, tight, personal film, then maybe not.
AH: Where do you stand on the Super 35 widescreen format? (Super 35 is a spherical widescreen process where the film’s negative is shot in the 1.85:1 “Flat” format and then optically converted to an anamorphic release print.
RJ: Super 35 is a great format. It’s one of the best choices that you can make today, and the reason its better now is because of digital intermediate printing.
AH: Exactly, which was actually my next question, how digital intermediates have changed film processing in the labs today.
RJ: It changes